Armin Hansen: The Artful Voyage
January 25 – May 31, 2015
Armin Hansen, renowned for his paintings of fisher folk and the sea, sought to capture the raw power and vitality of the Pacific Ocean and those who sailed it. While his style is often described as impressionist, Hansen rejected Impressionism's gentility by exercising a bolder palette and more rugged strokes that focus on humanity's relationship with nature. This survey, the largest and most comprehensive ever assembled, includes close to 100 works, including paintings on view to the public for the first time, as well as rare examples of his hand-carved furniture and boat models. After pursuing formal training in painting in San Francisco and Europe, Hansen spent four years in Niewpoort, Belgium, where he painted marines, village views, and fishing scenes, all the while working as a crew-member on North Sea trawlers. This personal experience sparked his lifelong fascination with the sea and its people. Hansen first visited Monterey in 1913 and soon started painting the area's growing fishing community and fleet. In the West, he became the first to realize the potential beauty of commercial fishing, and he chose the theme in large part because he knew it well from firsthand experience. His vibrant, blustery scenes of the sea communicate broadly the impact of hardship and physical labor and the importance of bravery.
Armin Hansen: The Artful Voyage is organized by the Pasadena Museum of California Art and curated by Scott A. Shields, Associate Director and Chief Curator at the Crocker Art Museum in Sacramento.
Armin Hansen, Men of the Sea, 1920. Oil on canvas, 51 3/8 x 57 inches. Monterey Museum of Art, Gift of Jane and Justin Dart.
JIM MORPHESIS: Wounds of Existence
January 25 – May 31, 2015
Since the 1980s, Jim Morphesis has been one of the most influential members of the expressionist art movement in Los Angeles. Taking its title from what Friedrich Nietzsche called "The Eternal Wounds of Existence," JIM MORPHESIS: Wounds of Existence examines an impressive oeuvre that has captured the profound predicaments of human life. Morphesis most often works serially, on imagery and themes as varied as the Passion of the Christ (influenced by his Greek Orthodox upbringing), nude torsos (inspired by Rembrandt and Soutine) and universal symbols of mortality, including skulls and roses. His paintings of the Passion are grounded in art history, sharing aspects with Velasquez's Christ on the Cross and Giovanni Bellin's Pieta, but are made undeniably modern by his sensuous, textured surfaces. For the past four decades, his paintings have communicated a deep, universal concern with the dehumanization of society throughout history.
Curated by Peter Selz, Ph.D., the exhibition is accompanied by a brochure.
Jim Morphesis, Destiny, 1982. Oil, magna, wood and gold leaf on wood panel, 68 x 64 inches. Courtesy of Laifun Chung and Ted Kotcheff.
Lars Jan: HOLOSCENES
January 25 – May 31, 2015
Lars Jan's practice has long grappled with the biggest challenges in modern living: the changes technology produces in human relationships, the complications of religious practice and gender roles, and the violent rise in suicide bombings. In his first solo exhibition, HOLOSCENES, Jan explores the physical effects of natural disaster and the human capacity for adaptation through video and photography. The installation includes video projections of a triptych of massive aquariums inhabited by performers acting out routine behaviors. These tanks are then filled with water while the performers attempt to continue their tasks. The videos and accompanying light installation provoke visceral reactions that communicate Jan's environmental concern—the implications of climate change on our interactions with water—in an inventive way. Bridging the gap between climate consciousness and art, Jan capitalizes on art's power to change public consciousness.
Lars Jan: HOLOSCENES is organized by the Pasadena Museum of California Art.
Lars Jan, Abaya Horizon [still] from the HOLOSCENES / Quarternary Videos & Light Circumferences series, 2013. Courtesy of the Artist.
Someday is Now: The Art of Corita Kent
June 14 – November 1, 2015
Someday is Now: The Art of Corita Kent is the first full-scale exhibition to survey the entire career of pioneering artist and designer Corita Kent (1918-1986). For over three decades, Corita experimented in printmaking, producing a groundbreaking body of work that combines faith, activism, and teaching with messages of acceptance and hope. A Sister of the Immaculate Heart of Mary, Corita taught at the Art Department at Immaculate Heart College in Los Angeles from 1947 through 1968. At IHC, she developed her vibrant, Pop-inspired prints from the 1960s, mining a variety of secular and religious sources and using the populist printmaking medium to pose philosophical questions about racism, war, poverty, and religion. Her work was widely recognized for its revolutionary impact and remains an iconic symbol of that period in American history. As a teacher, Corita inspired her students to discover new ways of experiencing the world by seeking out revelation in everyday events. Bringing together artwork from Corita's entire career, this exhibition reveals the impassioned energy of this artist, educator, and activist.
Someday is Now: The Art of Corita Kent is organized by Ian Berry, Dayton Director of the Tang Museum, and Michael Duncan, independent curator and art critic, in collaboration with the Corita Art Center, Los Angeles. The exhibition is made possible with the generous support of the Andy Warhol Foundation for the Visual Arts and the Friends of the Tang.
Corita Kent, the sure one, 1966. Silkscreen print on Pellon, 29 3/4 x 36 inches. Collection: Corita Art Center, Immaculate Heart Community, Los Angeles, CA. Photograph by Arthur Evans, courtesy of the Tang Museum at Skidmore College.